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回覆 (433): 古典音樂版本比拼擂台
 
The Brahms' 4th Symphony is the one of the most difficult piece to be done right. It took Kleiber a long time for the mental preparation to record this symphony with the VPO and it was one of the great Brahms 4th in existence. A pity that I did not attend Zweden concert as past experience of listening to HKPO playing this 4th symphony took away my interest.  
Tonite and tomorrow HKPO will be playing Mozart Piano concerto 23 and Mahler 5th under another conductor. Let's see how it fares after the directorship by Zweden.  
kh33
11-12-02
17:50:15
回覆 (432): 古典音樂版本比拼擂台
 
港樂旋律誰主沉浮?.周光蓁 @ 亞洲週刊  
 
范瑞韋頓成為香港管弦樂團音樂總監熱門人選,但能否脫穎而出,仍有變數。  
 
二零一二年可說是領導交替年,香港特首選情剛起步,還有海峽兩岸,以及美、俄、法等西方諸國最高一把手,都進行換屆或重選,到時相關報道將目不暇給。  
 
旗艦級的香港管弦樂團(港樂)也正好明年轉換音樂總監,於是本樂季進行相親,安排近十位客席指揮來港,通過排練及演出,測試與九十多位樂師合作的化學作用。雖然事前不作宣布,但從選奏曲目和指揮場次,幾可斷定誰是候選者。十一月中旬連演兩個星期的荷蘭指揮范瑞韋頓(Jaap van Zweden)功架大放光芒,把港樂的水平神奇地轉化成歐美一流樂隊,真不愧剛被選為美國二零一二年度最佳指揮。  
 
剛年過半百的范氏是小提琴專家,身份傳奇,年僅十九便擔任國際頂級的阿姆斯特丹音樂廳樂團首席,在位十六年,其間與海庭、朱奧里尼、蘇堤等指揮大師合作,吸取藝術精華。我一向視之為最佳馬勒第一交響曲的伯恩斯坦一九八七年現場版本,當時樂隊首席正是范瑞韋頓。期間一次排練,伯恩斯坦讓范氏代執棒,好讓他到台下聆聽音效,數年後范氏便走上指揮之路。他現時擔任美國達拉斯交響樂團、荷蘭電台愛樂樂團、以及比利時皇家法蘭德斯愛樂樂團的音樂總監。但年底他將卸任後二個樂團,而接任比利時樂團總監一職者,正是即將離開港樂的迪華特。  
 
范氏抵港後,我有幸與他進行訪談。此前觀賞他排練美國簡約主義作曲大師Philip Glass的雙協奏曲,其間所表現的投入和直率遠超出一般客席指揮,尤其是對表現不合乎理想的樂師不留情面批評,讓我十分驚訝。需知遴選總監的程序之一是由樂團成員在問卷中評分,而且問卷是不記名的,范氏排練時要求嚴格可能因此失分。  
 
半小時後我就這個問題請教他,雙眼有若刀刃鋒利的他認真地回答說:「音樂專業是一種生活方式,不是工作。要我對著樂隊說讚美的話來換取合約,對此我不感興趣。我所感興趣的,是我能把樂隊提升到甚麼水平,如果我們的合作真的發揮到效果,那才是真正談婚論嫁的時候。」  
 
這番話讓我向他脫帽致敬。據港樂成員後來告之,范氏在最後一次排練對大家說,希望他們理解他所說所做的一切,都是對事不對人,為的是打磨藝術,精益求精。而過程中他更把阿姆斯特丹的弦樂弓法給各弦樂組介紹、訓練。也許個別成員對被迫學運弓感到不是味兒(用其中一位的話:「他這樣排練法讓我全身骨痛!」),然而貴為頂級的芝加哥交響樂團樂師同樣接受他的弓法鍛煉,而且之後不斷邀請他再度合作。聽過他指揮港樂的兩套曲目,完全明白甚麼是當今最炙手可熱指揮的功架。  
 
所選取曲目不算大眾化,部分相當冷門,上文提及的Glass作品更是去年才面世,這次是亞洲首演。開場選來不見經傳荷蘭作曲家Wagenaar的歌劇序曲,但港樂卻演得有如熟稔的保留曲目,無論節奏、色彩都有板有眼,緊湊熱鬧,把作品近乎華格納、李察史特勞斯等風格發揮得淋漓盡致,結束時的全奏澎湃鏗鏘,弦樂由始至終表現突出,連最後譜架的樂師都罕有地全力以赴,音色、平衡都不亞於歐美一級樂隊。  
 
下半場的布拉姆斯第四交響曲可說是港樂的歷來代表作之一。范氏似乎成功地把阿姆斯特丹的典雅傳統注入港樂。開始時弦樂拉出的主題以及木管的對答都顯得千錘百煉,而且越演越進入狀態,各聲部儼如一體,歌唱出德奧管弦韻味,例如次樂章大提琴的悲愴旋律、第三樂章的狂舞奔放,終章中段長號部分有若莊嚴聖詠,但各弦樂組始終表現最突出。  
 
第二套曲目除了鮮有演出的布烈頓小提琴協奏曲外,焦點都放在俄羅斯作曲家普羅歌菲夫二次大戰時創作的第五交響曲。弦樂又再一次顯示實力,尤其是低音弦樂在首樂章營造出戰雲密布的不安,用上大銅鑼的全奏聲浪極大,充分表現俄國作品的粗獷風格,效果刺激。次樂章的速度極快,樂隊成員前仆後繼,幾乎進入忘我狀態。終章指揮帶領樂隊以極速完成演奏,讓在場的觀眾都為港樂高素質的戮力演出引以為傲。  
 
散場後,我到後台恭賀范氏,他亦滿意樂隊表現,更明言樂意在亞洲工作。但問題是他如何分配時間,因為每年要留在港樂十二個星期或以上。樂團主席劉元生表示這正是關鍵所在。但歐美經濟江河日下,各樂團叫苦連天,香港目前的環境有其吸引力,因此范氏會否被選中成為香港管弦樂團(港樂)音樂總監仍有變數,何況相親者陸續有來。■  
 
[email protected]  
 
周光蓁,香港大學中國音樂史博士、新聞及傳媒研究中心名譽研究員、香港電台節目顧問、香港藝術發展局審批員,現任《南華早報》資深作家。著有《中央樂團史 1956-1996》(香港三聯書店二零零九年出版)。  
 
http://www.yzzk.com/cfm/Content_Archive.cfm?Channel=ms&Path=219387031/49ms.cfm
george1977
11-12-02
11:04:33
回覆 (431): 古典音樂版本比拼擂台
 
歷史演出再現 李斯特協奏曲現場錄音 @ MUZIK謬斯客  
 
李希特或許是跨世紀、跨「黨派」最受尊崇的二十世紀鋼琴家。他的曲目廣泛,無論獨奏、室內樂、協奏曲⋯⋯由巴洛克到其當代作品,幾乎沒有李希特不能者;各種討論版面、YouTube點播頁面上的留言,在在說明了李希特的備受推崇;除此之外,李希特的演奏錄影、錄音、訪談更是公認的最佳教材。  
 
說到這裡,私以為,「李希特『如何面對』詮釋課題」或者較「李希特怎麼彈巴赫、貝多芬、舒伯特、蕭邦、李斯特、布拉姆斯、普羅柯菲夫⋯⋯」顯得更值得探討。  
 
如果您是追求美聲、或轟隆「炸膛」聲效的發燒友,那麼筆者誠心建議您寬心略過。這套十張收錄的是老舊唱片翻錄的故人珠璣,沒有波瀾炫彩的拉赫曼尼諾夫、李斯特,卻有不少的巴赫、莫札特、貝多芬、海頓,更收錄了即便是二十一世紀仍「鮮少」演出的二十世紀初「現代」(Modernism)之聲──布列頓、辛德密特⋯⋯。  
 
現場演出老錄音的觀眾咳嗽聲、各種雜音彷彿帶領我們的聽覺進入時光隧道;更有趣的是,重複聆聽唱片,雖然已經能夠記得這些雜音出現的節奏,大師的詮釋卻總有令人玩味之處。  
 
李希特這位大師的特殊正在於他鋼琴生涯所呈現的「完備」,與揉合深思熟慮與坦率直觀的詮釋;他的詮釋態度,私以為,恰是「最貝多芬」的──由觀察李希特解繹音樂的態度與方法的角度來聽李希特,我們聽到的是一位具有指揮家、作曲家、評論人內涵的音樂家以極佳的演奏技巧、控管速度與情感之間連帶互動關係的高超視野「庖丁解牛」每個作品的能力展現;而這正是貝多芬澤被後世創作者、演奏者、研究與評論者的典範遺風。  
 
這樣的音樂與演奏不是「娛樂」,而是提升性靈的啟迪之聲;無論你是否同意、喜歡李希特的詮釋,李希特的演奏都不會是興之所至、也不會是怪老頭的硬派作風;李希特以指下音符,為鋼琴協奏曲的獨奏者應有的知性與感性、高度與態度立下極高的職業道德典範;  
 
他能快指如飛,卻一一到位;他能輕柔若絲,卻不打算假扮少女;例如第七張CD中的蕭邦第二號鋼琴協奏曲,這首兼具了年輕蕭邦特意注入艱澀和聲、恬靜優美與暢快手指技巧的協奏曲,在李希特指下顯得非常節制、毫無時下(仍舊)流行的任何揮之即來、呼之即去一般隨隨便便的萎靡rubato。  
 
而柴科夫斯基第一號鋼琴協奏曲「經典版本」之列必不缺席的「李希特版」,在這套CD中收錄李希特與他深為欽佩「最貼近柴科夫斯基靈魂」的康德拉辛指揮莫斯科愛樂於1968年的錄音;滿溢著烏克蘭迎春舞(Веснянка)氣息的第三樂章速度飛快,卻能音音入木三分,沒有欺瞞、更無浮誇。  
 
另外,李希特的巴赫蒼勁有力、二十世紀作品通透中保有極豐富音色層次,即便錄音品質或樂團音準藏不住歲月的痕跡, 相信真正想聽音樂、聽詮釋的樂迷仍能甘之如飴。  
 
附帶一提, 其中有不少曲目亦有現場錄影、並已經發行, 或者哪一天我們也能收藏,一窺大師們現場演奏那無法重複的一刻間,是如何、為何「做決定」。  
 
http://mag.nownews.com/article.php?mag=7-35-6173
george1977
11-12-02
10:15:01
回覆 (430): 古典音樂版本比拼擂台
 
謬斯客論壇 -樂器、耳朵、音樂廳 @ MUZIK謬斯客  
 
MUZIK/提供  
 
MUZIK謬斯客古典樂刊 │ 2011-01-05 文/謬斯客編輯部 攝影/賴森琳  
 
 
在今天的講座裡,我想先和大家談一下聲音傳遞的基本原理。如果我們以英文字母來作代號,在一個密閉的空間中,聲音傳導的過程至少需要有三個要件,那就是A:代表發聲源;B:代表空間;及C:代表接收源。如果把這三個條件相對應於一場音樂表演,那麼A就是在台上製造聲響的樂器;B就是表演所在的音樂廳;C則是坐在台下的聽眾。對於研究聲學的人來說,這三點都非常的重要,也必需要有深入的研究,才能創造出理想的聲響環境。  
 
聲音產生的三大要素  
 
容我在這邊為大家解釋一下這三點在聲學中所各自擁有的特質。首先是在發聲源的部份,一個發聲體通常會有三個必然的組成要素,分別是聲功率、頻譜,及指向性。所謂的聲功率是指在單位時間內聲波通過垂直於傳播方向某指定面積的聲能量,簡單來說就是聲音發射的單位能量。聲功率通常和發聲的物體能量有著直接的關係,比如說越大型的物體,經共振後所製造的聲功率也越大。然而聲功率的計算並沒有考量到測量的距離,所以不對等於聲音的穿透性。舉例來說,在大型的管弦樂團和聲樂獨唱家的合奏中,管弦樂團所發出的聲功率是大於獨唱者的,但我們還是能清楚的聽到獨唱的聲音,這當中是什麼原因呢?其實這就和發聲源第二個要素-頻譜有關了。  
 
頻譜是指聲音的結構,為何我們可以清楚的從每個人的聲音來判斷誰是誰呢?那是因為每個人的聲音頻譜都長得不一樣,就好比是指紋一樣,絕不可能有重覆出現的機會。而不同的頻譜構造也會產生出不同的聲音特質,有些人聲音高亢些(高頻較飽滿),有些人低沉些(低頻較多),而重要的是,頻譜的不同往往也會決定於聲音穿透力的強弱。人耳在經過分析之後,發現對於頻率在3000Hz的聲響會特別敏感,也就是說,如果發聲者在這個頻率上下的功率越高,聲音被接收到的可能性也就越大。我再提一個有趣的調查,以前有國外的學者到中國聽京戲,對於演唱者所發出聲音的穿透力感到不可思議,於是用儀器測量了一下,結果發現在3000Hz的頻率特別的強。這些唱戲的人沒有那麼具有科學的知識,只是在不斷的練習下找到了能讓聲音傳更遠的方式。可惜的是現代人都已習慣使用麥克風來擴音,反而不去磨練自己的聲音,也無怪乎聲樂演唱者們的功力越來越低了。  
 
而發聲源的第三個要素,就是指向性。拿小提琴為例,由不同的角度去聆賞,會聽到不同的效果。比如說從上方聽可能會在中音域的部份會覺得飽滿,但高低音的效果就不是很好,而從正前方聽,可能在高頻的效果會比較好…,指向性通常在錄音時是非常重要的參考依據,錄音師可以針對不同樂器的不同指向特性,來架設收音麥克風的位置。而就空間設計的考量來看,能夠熟悉樂器指向性的特質也能有助於建造出合適的反響狀態來補強聲音傳導上的不足。  
 
空間對聲音傳導的影響  
 
當發聲源製造出聲響之後,在進入人耳(也就是接收源)時,還會混雜著所處空間的聲音,也就是B的部份。因此我們也可以說,C所聽到的聲音其實是等於A乘以B。由於空間在聲音的傳遞上佔有著很重要的地位,這也就是為什麼設計一個音響效果好的音樂廳需要有這麼多專業人士加入的原因。目前在世界上音樂廳的構造設計主要分為兩種不同的型態,一是早期比較常見的「鞋盒式」音樂廳,一個則是近年來逐漸為許多新音樂廳所採用的「葡萄園式」音樂廳。一般說來,「鞋盒式」音樂廳在聲音反射的效果上比較容易控制,聲音的分佈也比較平均,而「葡萄園式」的設計則是比較講求觀眾置身在其中的臨場感,由於是以環狀的概念來建造,因此聽眾離樂手的距離較近,但在聲音傳遞上卻會有落差,像是在後方的觀眾和在前方的觀眾所聽到的聲響將會有明顯的差異。在台灣的實作上,台北國家音樂廳就是採用「鞋盒式」的設計法,而即將興建完成的高雄衛武營兩廳院的音樂廳,則是使用「葡萄園式」的方法。  
 
另外還值得一提的,就是針對演出內容的不同,音樂廳的設計也會有所不同,現今大部份的古典音樂廳都是以針對演奏浪漫時期的管弦樂作品為主要考量,而其設計結果往往不能符合小編制的室內樂演出需求,這也是為什麼很多音樂廳都會再加裝可移動反響板的原因,可以隨演出形式的不同而隨時進行調整。  
 
超越科學分析的心理因素  
 
對於研究聲學的人來說,上述的A和B雖然都是相當專門的學問,但用科學分析的方式,多半都還是能夠找到處理的辦法,反而最無法掌握的是在C,也就是聽眾這個部份。因為人耳固然還是可以用科學計算的方法來找到接收聲音的模式,但因為人還牽扯到心理的層面,這部份的變數就無法用量化的方式來處理了。  
 
在正常的情況下,人耳對聲音的辨別的方式會依以下三點而有所不同,分別是左右耳的時間差,強度,及頻譜。時間差是人耳判斷聲音自何方向而來的主要方法,當聲響從正面而來時,左右耳會在同時間接受到同樣等量的聲音,若是偏左時,則左耳會比右耳更快收到聲音,且再經過空間及鼻樑阻隔等影響,右耳不但接收的時間收到延遲,音量及音色也會有差異,因此就會出現左右之分。時間差和強度的變化同樣也可以讓人耳用來判別空間的大小。在密閉的場所中,從音源處傳來的「直達聲」和經由空間反射而造成的「反射聲」,其交錯傳達的時間差異,會呈現出所在空間的大小及和音源所處的相對位置,這也是為何在同一個場所中,若是處在不同的位子,即便音源相同,也會有著不同的聲響體驗的原因。  
 
而至於頻譜的部份,之前已有提及,人耳對於3000Hz上下的頻率特別敏感,而相對來說,對於低頻的聲響就較為遲頓,也因此在設計空間時,該如何能延展低頻的傳播性,也會是設計者重要的考量之一。  
 
以上簡單的介紹了聲音傳播的一些基本法則,提供給大家作為參考。聲學是一門複雜的學問,而應用在建築上更是有著許多不同的變因,因此要建造一座完美的音樂廳實在是一個不容易的事,惟有大家多多交流,集思廣益,結合音樂家、聲學家、建築師、觀眾等眾人之力,方能更接近理想。  
 
徐亞英教授  
http://mag.nownews.com/article.php?mag=7-35-3345
george1977
11-12-02
10:13:10
回覆 (429): 古典音樂版本比拼擂台
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george1977
11-12-02
10:11:23
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george1977
11-12-02
10:11:05
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george1977
11-12-02
10:10:48
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george1977
11-12-02
10:10:30
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george1977
11-12-02
10:10:10
回覆 (424): 古典音樂版本比拼擂台
5
http://upload.review33.com/avforum/201112/201112011341596933.jpg
george1977
11-12-02
10:09:41
回覆 (423): 古典音樂版本比拼擂台
george1977
11-12-01
18:08:13
回覆 (422): 古典音樂版本比拼擂台
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george1977
11-12-01
18:07:29
回覆 (421): 古典音樂版本比拼擂台
If in the old days, a girl happily share a cassette walkman ear phone with you, perhaps even lovingly share some of your self picked and recorded songs, you know you got lucky  
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This is what we called romantism. Yesterday we approach girls in a very indirect manner. Got chills in our spine just by merely touching their hands, just like what has been described in the latest hot Taiwan movie.  
kh33
11-11-08
18:39:30
回覆 (420): 古典音樂版本比拼擂台
Too bad, that particular Trout is not a well known performance, kind of hard to believe there can be reissue! If in the old days, I probably would have offer you a LP recorded cassette! SAX or Maxell? I have a faithful Dragon, still! You fancy that? Noooo, I'm just kidding!  
 
If in the old days, a girl happily share a cassette walkman ear phone with you, perhaps even lovingly share some of your self picked and recorded songs, you know you got lucky! That probably was the most loving moment I can remember of MONO!
bobui
11-11-08
13:28:53
回覆 (419): 古典音樂版本比拼擂台
The music should be happy, tuneful, charming with a sound that makes the listener feel like each instrument is talking, singing and playing with each other. A happy mood. And thats what I get from the Nash Esemble.  
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This is a very convincing explanation. Music is about emotion and communication.  
This Nash Ensemble LP should be my next target.  
kh33
11-11-08
10:44:49
回覆 (420): 古典音樂版本比拼擂台
會講o野  
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朋友 you know me better!
bobui
11-11-07
17:32:10
回覆 (419): 古典音樂版本比拼擂台
In a good stereo recording, you sometimes can hear the sound of different instruments coming from the opposite end of the channels. For example; You say from the left speaker: "How are you?" and I answer from the right speaker: "I am well, thanks for asking! Are you well too?" When you hear musical instruments singing along and talking to each other from different channels. Its the most lovely part of the music. The most obvious one I know is Beethoven, Spring sonatas, a very cheerful music with the piano and violin talking and singing to each other. You know what I mean. Something you wont get from mono and certainly not from some of the recordings here.  
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To sum it up, 會講o野!Not merely throwing at you highly analytical INFORMATION.
icefox
11-11-07
17:23:34
回覆 (418): 古典音樂版本比拼擂台
Can you enlighten us why it is your favourite instead of those famous versions?  
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Richter is leading all the way from 1st movement to last. His typical strong, smooth and delicated fingering sound so......him and dominate. Oh, no mistaken, its the second most loved one to me.  
 
Vox, man, come on, when a vox recording is bad, it wont be far from being the worst! The violin and viola sound squeaky and not pleasant which makes it very hard for me to focus on the music.  
 
Curzon is nice! Ok! No problem! Fine! Yes! OK! No problem! Fine! Nice! Yes!  
 
In a good stereo recording, you sometimes can hear the sound of different instruments coming from the opposite end of the channels. For example; You say from the left speaker: "How are you?" and I answer from the right speaker: "I am well, thanks for asking! Are you well too?" When you hear musical instruments singing along and talking to each other from different channels. Its the most lovely part of the music. The most obvious one I know is Beethoven, Spring sonatas, a very cheerful music with the piano and violin talking and singing to each other. You know what I mean. Something you wont get from mono and certainly not from some of the recordings here.  
 
The music should be happy, tuneful, charming with a sound that makes the listener feel like each instrument is talking, singing and playing with each other. A happy mood. And thats what I get from the Nash Esemble.
bobui
11-11-07
17:17:29
回覆 (417): 古典音樂版本比拼擂台
 
Never heard of the Nash Ensemble! Is it difficult to find?  
Can you enlighten us why it is your favourite instead of those famous versions?  
My favourite Trout is that by the Beaux Arts Trio.  
Trout is quite a difficult piece to reproduce. Often times I mistaken the double bass to be the second cello.
kh33
11-11-07
10:33:50
回覆 (416): 古典音樂版本比拼擂台
Weekend Sharing - shootout on the "Trout"  
 
Not much need to say about the "Trout" la. Perhaps someone can tell me any great performance missing in the picture below.  
 
Wonderful, charming and tuneful!. Everything you want to hear in a sunny cheerful afternoon is there for you from this masterpiece, Piano, Cello, Viola, Violin and Double Bass. So lovely!  
 
My favourite is.........not the famous Curzon decca or the Richter Borodin Quarter. Try to get a copy of the Nash Ensemble on the bottom left and let me know what you think. Ok!  
 
bobui
11-11-06
16:09:03
回覆 (415): 古典音樂版本比拼擂台
Did i say Mozart Fidelio,...... see..... now you know how foolish I am. Next time call me and correct my mistake before i go on making a fool of myself. By the way Dietrich Fischer-Dieskau is very good on Schubert songs. One of my most loved music, The Trout. He sang it so cheerful and witty!
bobui
11-10-28
18:28:08
回覆 (414): 古典音樂版本比拼擂台
 
There is a magnificient recording of Fidelio by Beethoven - Janowitz, Popp, Kollo, Sotin, Fischer-Dieskau, Jungwirth, Dallapozza, Wiener Phil., Bernstein . Great conductor with stellar cast and more than acceptable recording sound.  
 
 
kh33
11-10-28
18:16:39
回覆 (413): 古典音樂版本比拼擂台
Ah, so many high hands here la! Thanks for your kind words. I was off work yesterday and spend a very big part of the afternoon wisely with Mozart Fidelio, the four seasons and Chopin Prelude, M Pollini. Wow, that was fun, I had the volume so loud to make sure the phone and the door bell have no chance to interrupt me. I had the house all by myself, I ate what and when I like! I had my soldering iron on for the Tannoy preamp modification. I kind of almost felt like I was actually a composer with everything I wanted revolve around ME!
bobui
11-10-28
12:25:08
回覆 (412): 古典音樂版本比拼擂台
You are being too modest. Actually it is quite an insight to me when you mentioned Solti and Karajan together. Actually, I never thought about them together yet the resemblance is strong indeed in my own scale.  
 
Actually, conductors always have their own styles and being famous ones, they usually will not partner with amateur orchestra on recordings. It can be quite interesting to listening to the same music but intrepreted by different conductors. This is also why this thread exists. Through reading here,my radar scope also increase when I step into record stores.  
 
BenYC
11-10-28
10:55:40
回覆 (411): 古典音樂版本比拼擂台
I can identify and tell you what I like about a particular single instrument musician but when it comes to composer, not really lor. I could never be so sure if it was a fundamental quality issue of the orchestra or the composer lack of experience or leadership. Sometimes I don't even know what to expect. Perhaps I really should attend more live performance.
bobui
11-10-27
15:15:49
回覆 (410): 古典音樂版本比拼擂台
At the risk of over-complimenting both, pls add Toscanini to this similarity list. Although he had no Mahler, they all shared similar elements I dislike but had amazingly decent operas.  
 
BenYC
11-10-27
14:19:35
回覆 (409): 古典音樂版本比拼擂台
True indeed. As much as I dislike Karajan in general, his opera and Mahler are actually quite nice.    
   
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Georg Solti and Karajan have something in common!
bobui
11-10-27
12:22:19
回覆 (408): 古典音樂版本比拼擂台
True indeed. As much as I dislike Karajan in general, his opera and Mahler are actually quite nice.  
 
BenYC
11-10-27
11:56:15
回覆 (407): 古典音樂版本比拼擂台
 
Though many recordings of Karajan were dismissed by music critics his operas were really good. This one is no exceptiom.  
Another must own version is by Carlos Kleiber and Bayerische Staatsoper .  
kh33
11-10-26
18:31:25
回覆 (407): 古典音樂版本比拼擂台
There you are.  
 
bobui
11-10-26
15:47:10
回覆 (406): 古典音樂版本比拼擂台
This one is absolutely my favourite piece. Arrived today from Royal Mail costing me HK$230.- for the records and shipping. Cheerful music with lots of high C....D female singing! Try this even if you are not a big opera fan. No way you can fall to sleep on this one!  
 
http://youtu.be/npLZNoRoH2M
bobui
11-10-26
15:45:14
回覆 (405): 古典音樂版本比拼擂台
HMV should be selling LPs lor. They could have kept that shop in Landmark  
 
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Only if they could find so much first pressing LP, stereo or mono, for sale.  
It is only the law of supply and demand . The more the analog gears sold the more will be the demand.  
kh33
11-10-18
19:30:59
回覆 (404): 古典音樂版本比拼擂台
That is why I said the price of first pressing LP only goes up regardless of the world economy.  
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Going up is no problem. We all llike that! Going crazy is not lor! Even luxuary apartment in HK, antique or art collection dont give you that kind of return, I got mine roughly 6 to 7 years back from bay watch at around US170. Is bloody more than 12 times today for the three records.  
 
I was told that some mono first pressing Jazz LPs also shoot up over a few thousands Hong Kong in less than a couple of years.  
 
HMV should be selling LPs lor. They could have kept that shop in Landmark! Ha Ha!  
bobui
11-10-18
17:29:27
回覆 (403): 古典音樂版本比拼擂台
 
That is why I said the price of first pressing LP only goes up regardless of the world economy.
kh33
11-10-18
17:10:45
回覆 (402): 古典音樂版本比拼擂台
oh, my god! The world has gone completely crazy. A box set "Norma" blue/silver first edition sold for:  
 
1. US$168.-  
2. US$1,680.-  
3. US$16,800.-  
 
The answer is.........HK$13,104.-  
 
http://www.ebay.com/itm/250907155562?ssPageName=STRK:MESINDXX:IT&_trksid=p3984.m1436.l2649
bobui
11-10-18
15:17:56
回覆 (401): 古典音樂版本比拼擂台
 
Thanks kh and David for their valuable input to complete my list. Mercury recordings are among the very best the world has offered and it would be very helpful if David could supply more names in addition to the Fine couple.  
 
I would however hesitate to include John Dunkerley who seems to remain a cub engineer throughout all these years. Under RCA, I should have added Leslie Chase as well.  
 
limage
11-09-30
08:59:54
回覆 (400): 古典音樂版本比拼擂台
To Limage's list of recording engineers, if I may add Stuart Eltham under EMI, neither the best nor the most consistent, but to say the least, he's worth listed.  
 
And obviously, Robert Fine and his wife Wilma Cozart Fine under Mercury. Wilma's relentless pursuit of excellence is also demonstrated by the Polygram/Philips CD reissues of the Mercury catalogue, where she assumed a leadership role in the entire process. As a big fan of Mercury, I bought almost every Mercury CD,  
 
Not exactly relevant, but I would also give my salute to Ying Tan and Mike Hobson for their work in re-issuing the RCA Living Stereo catalogue on vinyl, as well as the 6 Mercury titles (including KH's favourite Firebird/Dorati.)  
 
And how I wish there were more Mercury titles, especially the piano music by Gina Bachauer.
davidchan
11-09-30
01:11:50
回覆 (399): 古典音樂版本比拼擂台
Though I've praised the EMI highly, other labels have their own characteristics that are no less interesting and attractive. Just as system matching is important in HI-Fi I found there is certain synergy between a system and a record label.  
The Philip label is the most intriguing. They do not attract you in the hi-fi spectacular sense. Their soundstage is only average and they have no spot-light focus. Yet they are easy on the ears and their natural presentation is beguiling They just soothe your mind. Most famous one would be the Rossini's string Sonata by Accardo.  
The DG sound is hated by many, considered it dry and sterile. Yet when done right they are the most accurate in tone and timbre reproduction. I just love their piano recording, esp. their tulip label, most notable would be Cherkassy/Karajan playing Liszt Hungarian Fantansy.  
The DECCA is famous for their soundstage and explosive dynamics esp. their ffss wide band which are widely sought after. Those Ansermet/Swiss orchestra records are loved by many. However their recording of solo voice or instrument is not among the best that I like.  
The RCA started the golding era of stereo recording and I treasured their many early recordings esp. by Reiner and Heifetz. Their strings are so sweet sounding and their brass so golden. But somehow I feel they have beautified the sound and their transparency is not the best that I've heard.  
When I want to show-off my system I think of Mercury esp. the Fire bird Suite by Antal Dorati. Their living presence effect is indeed spectacular. However I do not like their 35mm magnetic tape recording, feelin they add an artificial haze to the sound.  
kh33
11-09-28
18:53:27
回覆 (398): 古典音樂版本比拼擂台
Limage,  
 
Thank you for your great list, wonderful detailed.  
 
A note on Mercury, they are all great recording, if not great, they are good anyway.
CKM
11-09-28
17:41:20
回覆 (397): 古典音樂版本比拼擂台
A comprehensive list indeed!  
To this I would like to add John Dunkerley who came to DECCA in 1969 making many famous recordings with Dutouit and Montreal Symphony Orchestra. Also Chris Hazell, joining DECCA in 1973, whose recordings with Marriner and ASFM under Argo label are legendary.  
kh33
11-09-28
17:33:54